Gigi

There are some movies one enjoyed years ago that now, in the light of a more progressive culture, seem disturbing. But I found Gigi inherently creepy when I first saw it as a teenager in the '70s. Admittedly some things bother me more now than then, like a middle-aged man singing about how great little girls are because when they're teenagers he'll have sex with them, but the central premise always struck me as deeply disturbing.

This is essentially a movie about a young girl pushed into sex work by her family of sex workers. She does not, at first, understand that's what's happening, but when she figures it out she's not happy about it. And I just don't see how that can be alright. It would be one thing if this were a commentary on a time when most women's only real path to power and fortune was through sex, but that's not what this is. This is a light frothy musical about something really bad.

And it's a shame, because it's full of great songs. Ignoring the sleaziness, Thank Heaven for Little Girls is charming. The Night they Invented Champaign is a fun, amusing number, as is I Remember it Well.

The performances are excellent, particularly Leslie Caron as Gigi. But I can't even watch this movie because I find it so creepy. Gigi's situation is heartbreaking, and while yes, it's a 50s musical that resolves everything pleasantly, Gigi is powerless in the equation.

As a youth I was horrified by a movie about someone my age who's agency had been taken away by "well meaning" relatives. As an adult I find it even more disturbing.

And yeah, a lot of people are just going to say I'm a buzzkill and it's just light froth. But I can't see it that way.

The ability to do fine musicals was one of Hollywood's endearing traits. However, in Gigi they produced a GREAT musical that is in a class by itself. The score, the libretto, the costumes, photography et al won Oscars and deserved them.

However, the cast led by Caron and Chevalier all deserved a special Oscar. They were cast perfectly and performed to perfection. Could there be a better Gigi than Caron? Her ability to go from a charming child to a beautiful women is overwhelming. The songs that Chevalier has made into classics, appear to have been written especially for him. Could one visualize any other personality performing these songs?

Jourdan is perfect in his role and so is Gingold. Thank heaven!!! Lastly, I must pay homage to that city on the Seine. It is the ultimate star and should have gotten a special award.

I agree with those readers that have called Gigi the best Hollywood musical; it is really the perfect musical. Thank heaven!!!

...how is this MY FAIR LADY? Over and over again, like a herd, everyone is writing that it's a copy, or a remake, or very similar to. This is an adaptation of a Colette novel, not a Bernard Shaw play. While both stories have a central female character, one is being groomed in elocution while the other is being groomed as a hook-- that is, as a coquette. Is your suspense of imagination so narrow that the same musical team cannot create more than one score without crucifixions for similarities? (Lerner & Lowe also wrote BRIGADOON and PAINT YOUR WAGON...are they also rip-offs of MFL?) Anyway, the film- resplendent in set pieces, cinematography, and especially costumes, is an execution in contradictions: it takes a group of less-than-respectable characters and makes them respectable. The lovely Leslie Caron shines as the title character who reveals to her already shocked family that she's not as naive as they seem to think in the ways of courtship and will not give herself to a man that she doesn't actually love. (Remarkably ahead of its time, when you think about it.) There is also something of an enigma in Maurice Chevalier, who, while being a favorite with audiences, is- let's face it- a dirty old man. After more than an hour of boasting about conquering girls young enough to be his granddaughters, he does a kind of about-face when he begins a twilight terrace scene with 'grandmama' Hermoine Gingold. As they reminisce about their own love affair in their white suits (was she the love of his life?) they contribute the film's finest moment: the duet "I Remember It Well (visually breathtaking against a sky which changes from pastel blue to coral to a flaming orange sunset)." The DVD, set to wide-screen, is the only way to enjoy something like this.

Having seen this film several times, I definitely have to rate Gigi as one of the most charming musicals ever made. The delightful score, by Lerner & Loewe, includes songs such as "I Remember it Well," "The Night They Invented Champagne," "Thank Heaven For Little Girls," as well as the title track, "Gigi," sung with surprising candor and earnestness by Louis Jourdan. Although reminiscent of their work on My Fair Lady, this score not only stands beautifully on its own but also grows in depth with each viewing.

The three principals, Leslie Caron, Louis Jourdan, and Maurice Chevalier, along with the Paris locales helps maintain a distinctively French flavor, especially in the way the characters relate and interact.

For everyone who has commented on the political incorrectness of the story, a closer look will actually reveal the true feminist perspective of Colette's work which was groundbreaking for its time: 1) the story is a commentary and observation of the limited social and economic options for women outside of marriage during the turn of the century Paris, 2) Although Gigi (Caron) never fully masters her lessons and grooming, she is able to capture Gaston's (Jourdan) heart precisely because of her imperfections, and 3) most importantly, it is Gaston rather than Gigi who is forced to truly transform himself and defy the social conventions of the time to bring the story to its resolution.

Compare this to My Fair Lady, which offers similar social commentary but resolves itself in a more standard way: For example 1) Eliza Dolittle only becomes noticeable and lovable after transforming her outward appearance and speech patterns 2) Although Professor Higgins finally realizes his love for Eliza at the end, it is Eliza who is forced to submit her will by effecting a reconciliation that does nothing to resolve any of the issues raised in the scenes leading up to that point.

Definitely see Gigi and judge for yourself. (By the way, the widescreen version is sooooo much better. This is especially apparent in numbers such as "I Remember It Well" where entire characters are forced to be cut out of the screen.)

It's almost as if Lerner & Lowe were competing with themselves when they decided to write the music for "Gigi" -- once again, a story about a girl being transformed into a young woman of charm (a Parisian courtesan) just as Eliza was being molded into another creature by Professor Higgins. And that's not the only similarity. The songs all have a "My Fair Lady" similarity -- from 'The Night They Invented Champagne' to 'Gigi' to 'The Parisiennes' -- all bear the flavor of their previous work in sound and content. And yet they work beautifully for this story set in the city of love and starring Leslie Caron, Louis Jourdan, Herminone Gingold and Maurice Chevalier.

Production-wise, it's almost too lavish for its own good. Vincente Minnelli wrings every bit of artistic decor in the trappings, giving the viewer an almost claustrophobic feeling for the interior scenes. The outdoor shots are just as lavish--Louis Jourdan singing the title song among the fountains and architecture of French landmarks.

The cast is perfect. Leslie Caron makes an enchanting Gigi, Louis Jourdan is impossibly handsome as Gaston, and all of the other players were cast with a discerning eye.

But there is no denying that no matter how distasteful some will find the story of training a girl to become a courtesan to be (or how politically incorrect by today's standards), the score is as sparkling as the champagne they sing about. While, in my opinion, the score does not surpass "My Fair Lady" in range and cleverness, it certainly did well enough in winning nine Oscars, including the one for Best Picture of 1958. By all means, it has to be considered one of the last great musicals from the MGM period.

Only drawback: it's a bit overlong and could have used some editing for the slow moments.